朱宣咸(1927年浙江——2002年重庆),中国画画家、木刻版画家、漫画家与美术活动家。20世纪40年代初起从事中国画与中国新兴木刻版画,半个多世纪来,创作了大量中国画、版画、漫画、插画、水粉画、水彩画、连环画等作品,并被中国美术馆及各地美术馆、博物馆等收藏;被《中国年鉴》,《中国百年版画》等大型文献收录;从1946年到2002年多次入选国内外一系列重要展览,发表作品数千次,艺术风格被《人民日报》等主要媒体专题评论;出版有《朱宣咸作品选》,《朱宣咸花鸟画选辑》,《朱宣咸木刻版画集》,《朱宣咸风景木刻版画选辑》,《朱宣咸漫画》,《艺术常青——美术家朱宣咸》等;由文化、新闻、出版等六单位联合主办了“朱宣咸从艺五十五年画展”;生平被载入《中国美术辞典》等国家级辞书

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朱宣咸版画《妈妈,给我一个》

1940年代作于上海
(画中的母亲是靠缝制玩具卖以为生)

Mummy, Give Me One
By Zhu Xuanxian

Woodcut, In Shanghai City, China, 1940s
(The mother in the painting lives by selling toys.)
NO.W-013
 

The Chinese contemporary woodcut was sponsored by Mr. Lu Xun in Shanghai, the origin of the new Chinese cultural movement, and thrived there, which was then a “white area” under the sovereignty of Kuomintang, so that Shanghai became the origin, frontier and center of the Chinese contemporary woodcuts, which later influenced the “red areas” (liberated areas) under the sovereignty of the Communist Party of China. In the content, the works in the “white areas” represented by Shanghai mostly reflect the people’s livelihood and the advocate for democratic politics, including many describing the miserable experience of the people’s fate and family disasters; while in the “red areas” represented by Yanan, the works mostly reflected the exciting life, construction and democratic reform movement of the army and people. In general, the tone of the works in the “white areas” were fairly in low spirit, depressed, serious and struggling; while the tone of the works in the “red areas” were rather bright, lively and relaxing. Regarding the formal language, the “white area” works paid much attention to the contrast of white and black colors, were much low-pitched, and absorbed the nutrition from European woodcuts in style, so that they were totally westernized; while the “red area” works adopted sufficient lines, plain picture and largely local customs and feelings, and absorbed the nutrition from the Chinese folklore arts.

The woodcut works made by Zhu Xuanxian in Shanghai before 1950 belong to the new woodcut works in the White Area represented by Shanghai, so that
after he went to Chongqing at the end of 1949, it became a characteristic distinguishing him from most of other woodcut artists in Chongqing, who were mainly from the Red Area represented by Jinsui. Regarding the local areas, at the beginning of 1950s, a group woodcut artists (they gathered at Sichuan Artists Association) from the “red areas” of Shanxi and Hebei and the artists from the “white areas” came to Chongqing due to some historical reasons, and they became the first group of artists of Chongqing after liberation. Zhu Xuanxian’s works are a rare fortune of Chongqing from that group. Consequently he became the representative of “white area” new woodcut as the center of China’s graphic works in Chongqing.